by Lucy Moore
100 ‘compensate for’: Scheijen, Diaghilev, p. 241.
100 perfectly musically literate: see also S. C. Berg, Le Sacre du printemps: Seven Productions from Nijinsky to Martha Graham (Ann Arbor, MI, 1988), p. 26.
100 ‘music made visible’: C. W. Beaumont, Bookseller at the Ballet: Memoirs 1891 to 1929 (London, 1975), p. 100.
100 ‘the courage to stand still’: Buckle, Diaghilev, p. 251.
100 ‘horribly decadent’: Stravinsky, Stravinsky in Conversation with Robert Craft, p. 165.
101 ‘she never makes one forget’: Buckle, Nijinsky, p. 214.
101 ‘Oh, Mathildoshka … two feet’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 160.
102 ‘almost as a priest … uncanny feeling of apprehension’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 16.
102 ‘When she unfolded’: Karsavina in Drummond (ed.), Speaking of Diaghilev, p. 18.
103 ‘dancers dreaded’: Grigoriev, The Diaghilev Ballet, 1909–1929, p. 66.
103 ‘Up to then … choreographic plan’: Nijinska, Early Memoirs, p. 427.
103 ‘the movement he gave’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 62.
103 ‘merely an extension … that speaks’: Jacques Rivière quoted in Burt, The Male Dancer: Bodies, Spectacle, Sexualities, p. 90.
103 ‘never seen him’: Macdonald, Diaghilev Observed by Critics in England and the United States, 1911–1929, p. 88, telegram of 18 April 1912.
104 ‘You will see … understood it’: Nijinska, Early Memoirs, p. 431.
104 ‘“creating” a choreographer’: Fokine, Memoirs of a Ballet Master, p. 202.
104 ‘This was a very unhappy’: Monteux, It’s All in the Music: The Life and Work of Pierre Monteux, p. 93.
104 ‘shabby, jealous little group’: A. Gold and R. Fizdale, Misia: The Life of Misia Sert (New York, 1980), p. 156.
105 ‘with the weight … and sulky’: Cocteau, Journals, p. 54.
105 300,000 francs: Garafola, Diaghilev’s Ballets Russes, p. 187.
105 ‘doubts in the wings’: Nijinska, Early Memoirs, p. 434.
105 ‘plus nu que nu’: Steegmuller, Cocteau: A Biography, p. 77.
105 ‘In the costume … be human’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 170.
106 ‘introversion, self-absorbtion’: Homans, Apollo’s Angels: A History of Ballet, p. 309.
106 ‘thrilling. Although his movements’: Sokolova, Dancing for Diaghilev, p. 40.
106 ‘Nobody was certain’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 172.
107 ‘I wish that’: quoted in Nijinska, Early Memoirs, p. 437.
107 ‘this wonderful evocation’: quoted in Buckle, Diaghilev, p. 226. For a fuller understanding of this scandal, see Scheijen, Diaghilev, pp. 249–51 and Count Harry Kessler’s diaries (published in German in 2005).
107 ‘WICKED PARIS’: Macdonald, Diaghilev Observed by Critics in England and the United States, 1911–1929, p. 78.
107 ‘safe haven of’: Garafola, Diaghilev’s Ballets Russes, p. 57.
107 ‘the seesaw … against instinct’: ibid., p. 58.
107 ‘Of course Nijinsky’: Steegmuller, Cocteau: A Biography, p. 73.
107 ‘adored the … by it’: Stravinsky and Craft, Memories and Commentaries, p. 36.
108 ‘I did not think’: Nijinsky, Nijinsky’s Diary, p. 203.
108 ‘Once you mastered’: L. Sokolova in Drummond (ed.), Speaking of Diaghilev, p. 146.
108 ‘The sensation’: Sokolova, Dancing for Diaghilev, p. 40.
108 ‘a refutation … without parallel’: Oliveroff, Flight of the Swan: A Memory of Anna Pavlova, p. 163.
108 ‘to his own purpose’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 63.
108 ‘Je ne suis pas’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 136.
108 ‘in spite of Diaghilev’s’: Benois, Reminiscences of the Russian Ballet in London, p. 290.
109 ‘evolved a sculptural line’: Massine, My Life in Ballet, p. 84.
109 ‘revealed not one’: Lifar, Diaghilev, p. 143.
109 ‘ill-concealed impatience’: Buckle, Diaghilev, p. 235.
109 ‘very nervous … and jailer’: Gathorne-Hardy (ed.), Ottoline: the Early Memoirs of Lady Ottoline Morrell, p. 227.
109 ‘sat in the garden’: Lady Juliet Duff quoted in Buckle, Nijinsky, p. 261.
109 ‘I do not know’: Nijinsky, Nijinsky’s Diary, p. 41.
109 ‘naively … all evening’: Stravinsky and Craft, Memories and Commentaries, p. 36. In Lady Juliet Duff’s version of the event, he called her ‘perroquet’, a reference to her aquiline nose. See Buckle, Nijinsky, p. 261. 110 comparing her to a giraffe: It was a compliment. ‘Lady Morrell is so tall, so beautiful, like giraffe’; Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 187.
110 ‘He was so different’: Gathorne-Hardy (ed.), Ottoline: the Early Memoirs of Lady Ottoline Morrell, p. 239.
110 ‘from another world’: ibid., p. 227.
110 ‘There were … his art’: M. Seymour, Ottoline Morrell: Life on a Grand Scale (London, 1998), p. 231.
110 Bedford Square: see William Plomer’s poem, ‘The Planes of Bedford Square’, which describes Nijinsky watching a game of tennis and crying out, ‘Quel décor!’
110 ‘no corps de ballet’: Buckle, Diaghilev, p. 234, citing Jacques-Emile Blanche’s description of the dinner.
111 ‘A woman and a man’: Nijinsky, Nijinsky’s Diary, p. 46.
111 ‘The man that I see’: Le Figaro, 14 May 1913, cited in Nijinska, Early Memoirs, p. 467.
111 ‘When today one sees a man stroll’: same interview cited in Garafola, Diaghilev’s Ballets Russes, p. 59. See also Parker, Nijinsky, p. 111.
111 ‘waltz with changing partners’: M. Hodson, Nijinsky’s Bloomsbury Ballet (Hillsdale, NY), p. 263.
111 ‘The Faun is me’: Nijinsky, Nijinsky’s Diary, p. 207.
112 ‘Sin’: Scheijen, Diaghilev, p. 268.
112 ‘perverted degeneracy’: Fokine quoted in Buckle, Nijinsky, p. 249.
112 ‘If we don’t lay down the law’: Scheijen, Diaghilev, p. 252, quoting Kessler’s diary.
113 ‘Il ne supporte plus les désordes sexuels’: E. Aschengreen, Jean Cocteau and the Dance (Gyldendal, 1986), p. 229 n. from a 1953 entry in Cocteau’s journal.
113 ‘happy and proud’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 182.
114 ‘from hotel to hotel’: Cocteau, Journals, p. 54.
114 ‘I gave my whole heart to it’: Nijinsky, Nijinsky’s Diary, p. 164.
114 ‘I soon discovered’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 17.
114 ‘with an aloof, distant air … never warmth’: ibid., pp. 21–2.
115 ‘a rather risqué situation’: C. Debussy, Letters, trans. R. Nichols (London, 1987), p. 260, 12 September 1912.
115 ‘He replied that’: Calvocoressi, Music and Ballet: Recollections of M. D. Calvocoressi, p. 208.
115 ‘the best … tell you’: Karsavina quoted in Nijinska, Early Memoirs, pp. 465–6.
116 ‘ballerina mentality … forgive you’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 68.
116 ‘felt that … a woman’: Nijinsky, Nijinsky’s Diary, p. 201.
117 ‘could not compose it … never finished’: ibid., p. 206.
117 ‘blank … Debussy’s score’: Grigoriev, The Diaghilev Ballet, 1909– 1929, pp. 91–2.
117 ‘What beauty … in this?’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 56.
117 ‘second installment’: Garafola, Diaghilev’s Ballets Russes, p. 63.
118 ‘Monsieur Dalcroze … young savage’: Debussy, Letters, p. 272, 9 June 1913.
118 ‘had some … and immature’: Grigoriev, The Diaghilev Ballet, 1909–1929, p. 91.
118 ‘Everything in the
choreography’: Nijinska, Early Memoirs, p. 445.
118 ‘He was like a crumpled rose’: Buckle, Diaghilev, p. 256.
118 ‘Japanese food’: ibid., p. 250.
119 ‘Rose is a rose’: Hodson, Nijinsky’s Bloomsbury Ballet, p. 5.
119 ‘I must make’: Buckle, Diaghilev, p. 238.
6 LE SACRE DU PRINTEMPS, 1910–1913
120 ‘entranced … and Nijinsky’: L. M. Easton, The Red Count (Berkeley, CA, 2002), p. 202.
120 ‘Bowls of monstrous strawberries’: ibid., p. 203.
120 originator of the initial concept: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 63; P. Hill, Stravinsky and the Rite of Spring (Cambridge, 2000), pp. 4–6; Scheijen, Diaghilev, p. 212.
122 ‘to present the power’: N. Misler in Bowlt, Z. Tregulova and N. R. Giordano (eds), Feast of Wonders, p. 77.
122 ‘some unconscious folk memory’: P. C. van den Toorn, Stravinsky and The Rite of Spring (Oxford, 1987), p. 12.
123 ‘the foot … to honour’: Lifar, Serge Diaghilev, p. 200; letter from NR to SD.
123 ‘the picture of’: van den Toorn, Stravinsky and The Rite of Spring, p. 3.
123 ‘they were wild about it’: Hill, Stravinsky and the Rite of Spring, p. 26.
123 ‘dull, rumbling explosions’: Lifar, Ma Vie, p. 5.
123 ‘the violent Russian spring’: Stravinsky, Stravinsky in Conversation with Robert Craft, p. 164.
123 ‘extraordinary new … conduct it.”’: Monteux, It’s All in the Music: The Life and Work of Pierre Monteux, pp. 88–9.
124 ‘When they finished … the roots’: Hill, Stravinsky and the Rite of Spring, p. 27.
124 ‘by a beautiful nightmare … some jam’: Debussy, Letters, p. 265; 5 November 1912.
124 ‘new forms must be created’: Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 30.
125 ‘was as helpless as a child’: Grigoriev, The Diaghilev Ballet, 1909–1929, p. 76.
125 ‘something he brought’: Sokolova in Drummond (ed.), Speaking of Diaghilev, p. 145.
125 ‘twice as fast’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 58.
126 ‘idea of the ballet’: L. Kirstein, Dance: A Short History of Classic Theatrical Dancing (New York, 1969), p. 114.
126 ‘incessantly thinking out new ballets’: Gathorne-Hardy (ed.), Ottoline: the Early Memoirs of Lady Ottoline Morrell, p. 227.
127 ‘As I danced’: Nijinska, Early Memoirs, p. 450.
127 ‘Nijinsky works with passionate zeal’: Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 92.
127 ‘Gentlemen, you do not have to laugh’: T. F. Kelly, First Nights (New Haven, CT, 2000), p. 281.
128 ‘with little bits of paper’: Sokolova, Dancing for Diaghilev, p. 42.
128 ‘is the life of the stones’: Macdonald, Diaghilev Observed by Critics in England and the United States, 1911–1929, p. 90; Nijinsky interviewed by the Pall Mall Gazette, 2 February1913.
128 ‘declared his feud’: Karsavina, Theatre Street, p. 236.
129 ‘the artist who loves all shapes’: Nijinsky, Nijinsky’s Diary, p. 56.
129 ‘La grace, le charme’: Magriel, Nijinsky, Pavlova, Duncan: Three Lives in Dance, p. 20.
129 ‘Another vision than’: E. Burns (ed.), Gertrude Stein on Picasso (New York, 1970), p. 65.
129 ‘unable to reach them’: Nijinska, Early Memoirs, p. 461.
129 ‘that it was an excellent sign’: Grigoriev, The Diaghilev Ballet, 1909–1929, p. 90.
129 ‘pagan worship, the religious instinct’: Gathorne-Hardy (ed.), Ottoline: the Early Memoirs of Lady Ottoline Morrell, p. 239.
130 ‘as if he felt’: Nijinska, Early Memoirs, p. 475.
130 ‘a wild creature … him before’: Sokolova, Dancing for Diaghilev, p. 38.
131 ‘If the work continues like this’: Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 94; 25 January 1913.
131 ‘You are the only one … muzhik’: Nijinska, Early Memoirs, p. 462.
131 ‘a blackguard, a brigand’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 58.
132 ‘how exhausting and fatiguing’: Nijinska, Early Memoirs, p. 462.
132 ‘himself away with a wild leap’: Nijinska, Early Memoirs, p. 464.
132 ‘more than human’: Bourdelle quoted in Magriel, Nijinsky, Pavlova, Duncan: Three Lives in Dance, p. 56.
133 ‘in that sad delightful … very quickly’: Lifar, Diaghilev, p. 202; G. Astruc, Le Pavillon des fantômes (Paris, 1929), p. 286.
133 ‘I realised that Diaghilev’: Nijinsky, Nijinsky’s Diary, p. 110.
133 ‘going through a dreadful period’: Gold and Fizdale, Misia: The Life of Misia Sert, p. 153.
133 ‘a little in love with him’: Nijinska, Early Memoirs, p. 462.
134 ‘Get out … and parrots’: Krasovskaya, Nijinsky, p. 267.
134 ‘Nijinsky didn’t take’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 58.
134 ‘no danger’: Nijinska in conversation with Buckle; Buckle, Diaghilev, p. 247.
134 ‘the greatest tragic dance’: Rambert, Quicksilver: The Autobiography of Marie Rambert, p. 63.
134 ‘His movements were epic’: Marie Rambert to Clement Crisp, 1962; draft of an article for Dance Research magazine found in the Rambert Ballet’s archive.
134 ‘picture-postcard’: Kirstein, Nijinsky Dancing, p. 145.
134 ‘I think the whole thing’: Cecchetti and Racster, The Master of the Russian Ballet, p. 226.
135 ‘the thousand varieties of snobbism’: Cocteau, The Cock and the Harlequin, p. 48.
135 ‘I am happy to have found’: ‘Montjoie’ in Dossiers de Presse, 29 May 1913, reproduced in Hill, Stravinsky and the Rite of Spring, p. 95.
135 ‘Whatever happens’: Grigoriev, The Diaghilev Ballet, 1909–1929, p. 92.
136 ‘impervious and nerveless’: Stravinsky, Stravinsky in Conversation with Robert Craft, p. 46.
136 ‘You may think’: Monteux, It’s All in the Music: The Life and Work of Pierre Monteux, p. 90.
136 ‘Exceptionally long-sleeved’: Sotheby’s Ballets Russes Catalogue 1972, lot 68 iv.
136 ‘as irritating to’: Beaumont, The Diaghilev Ballet in London, p. 75.
137 ‘If that’s a bassoon’: P. Blom, The Vertigo Years (London, 2008), p. 288.
137 ‘with a … don’t understand it’: Gold and Fizdale, Misia: The Life of Misia Sert, p. 151.
137 ‘First listen!’: Astruc, Le Pavillon des fantômes, p. 286.
137 ‘to exclude the audience’: T. Scholl, From Petipa to Balanchine: Classical Revival and the Modernisation of Ballet (London, 1993), p. 74.
137 ‘I am sixty years old’: Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, pp. 199–200 and Cocteau, The Cock and the Harlequin, p. 49.
137 ‘an utterly new vision’: Scheijen, Diaghilev, p. 271.
138 ‘Down with the whores’: Kelly, First Nights, p. 293.
138 ‘the refined primitivism’: Roerich p. 89.
138 ‘What an idiot … dura publika’: Drummond (ed.), Speaking of Diaghilev, p. 113.
138 ‘She seemed to dream’: André Levinson quoted in Kirstein, Dance: A Short History of Classic Theatrical Dancing, p. 288.
138 ‘no cathartic outpouring’: Homans, Apollo’s Angels: A History of Ballet, p. 311.
139 ‘Nothing could be’: Scholl, From Petipa to Balanchine: Classical Revival and the Modernisation of Ballet, p. 75.
139 ‘This is not’: Jacques Rivière quoted in Buckle, Nijinsky, p. 299.
139 ‘a bleak and intense celebration’: Homans, Apollo’s Angels: A History of Ballet, p. 311.
139 ‘excited, angry … what I wanted’: Aschengreen, Jean Cocteau and the Dance, pp. 8–9.
140 ‘dress coat and top hat’: Scheijen, Diaghilev, p. 272.
140 ‘You cannot imagine’: Cocteau, The Cock and Harlequin, pp. 49–50. Aschengreen cites Stravinsky, w
ho denied Cocteau was there that night (‘Cocteau’s story was only intended to make himself important’; they weren’t intimate enough with him then to take him to dinner ‘after such an event’); Aschengreen, Jean Cocteau and the Dance, p. 9. But in his diary, written at the time, Kessler remembered Cocteau being there, lending Cocteau’s account more credence; Scheijen, Diaghilev, p. 273.
140 ‘as if she’: Romola Njinsky, Nijinsky; and, The last years of Nijinsky, p. 194.
140 ‘and watched them’: ibid., p. 195.
141 ‘seemed now almost’: ibid., p. 208.
142 ‘a sound … My God!’: M. Draper, Music at Midnight (Kingswood, Surrey, 1929), p. 145.
142 ‘defeated and … this work’: A. Rubinstein, My Young Years (London, 1973), p. 412.
142 ‘really terrible and intense’: Gathorne-Hardy (ed.), Ottoline: the Early Memoirs of Lady Ottoline Morrell, p. 227.
142 ‘much more attractive’: M. Holroyd, Lytton Strachey: a Critical Biography, Vol. 2, 1910–1932 (London, 1968), p. 94.
142 ‘that boredom and sheer anguish’: ibid., p. 95.
143 ‘in a few years’: quoted in Romola Nijinsky, Nijinsky; and, The last years of Nijinsky, p. 208.
143 ‘The fact is … in dancing’: Macdonald, Diaghilev Observed by Critics in England and the United States, 1911–1929, p. 100.
143 ‘primitive music with’: Debussy Letters, p. 270; 29 May 1913.
143 ‘An artist sacrifices’: Nijinsky, Nijinsky’s Diary, p. 203.
143 ‘uprooted … be reborn’: quoted in Blom, The Vertigo Years, p. 289.
143 ‘one of the great’: Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 102.
144 ‘death warrant … my madness’: Lifar, Diaghilev, p. 202.
144 ‘Where would he be’: Gold and Fizdale, Misia: The Life of Misia Sert, p. 133.
144 ‘intolerable and mal elevé’: ibid., p. 156 and Buckle, Diaghilev, p. 258.
144 Friends of St Stephen’s: Macdonald, Diaghilev Observed by Critics in England and the United States, 1911–1929, p. 84.
144 ‘capable of giving life’: Burt, The Male Dancer: Bodies, Spectacle, Sexualities, p. 88.
145 ‘I am confident’: Krasovskaya, Nijinsky, p. 249.
145 ‘Nijinsky’s choreography is’: Stravinsky and Craft, Stravinsky in Pictures and Documents, p. 102, 3 July 1913.